Colorado Symphony, Messiah & More — Brian Giebler’s 25/26 Season
This season holds both new debuts and meaningful returns, alongside the release of my most personal project yet. From Carmina Burana and Messiah to my upcoming album a dad's love, I’m looking forward to sharing music that connects through both power and intimacy.
Highlights of the 25/26 Season
This season brings me to some of the country’s most respected stages. I return to the Colorado Symphony for Haydn’s Mass in Time of War, sing Handel’s Messiah with the American Bach Soloists, the National Philharmonic, and the Charleston Symphony, and make my debut with the Savannah Philharmonic in Mozart’s Requiem. I’ll also join the San Antonio Philharmonic, Boise Philharmonic, Vermont Symphony, and the Cathedral Choral Society for performances of Orff’s Carmina Burana.
Alongside these high-profile concerts, I reconnect with ensembles that feel like artistic partners. I return to the Austin Symphony for Mozart’s Requiem and work again with The Sebastians in Bach’s B Minor Mass. Closer to home in New York City, I’ll sing the Evangelist in Bach’s St. Matthew Passion at St. Ignatius Loyola and take part in the Bach series at Holy Trinity Lutheran Church.
What ties all of these performances together is the same goal I carry into every season: I want audiences to leave having experienced something, not just having heard something. Whether it’s the fire of Carmina Burana or the intimacy of Bach’s storytelling, my focus is always on making the emotion of the music irresistible.
New Album: a dad’s love
Between these performances, I’m also preparing to release my second solo album, a dad's love. So much has shifted since my first GRAMMY® nominated recording, a lad's love. Becoming a dad has changed how I sing and how I tell stories. The emotions may be personal to me, but my hope is that people recognize them in their own lives—that they find their own story in the music.
What has stayed the same is my desire to be true to myself as an artist. What has changed is giving myself permission to be more vulnerable—to let the performance be not just “operatic” but also true to Brian, the person. That shift, I think, is what makes this album my most personal project yet.
Requiem of Light
I’m honored to be the featured tenor on Requiem of Light, a newly composed a cappella Requiem by composer Patti Drennan and producer/chorus master Emily Drennan. The recording is led by four-time GRAMMY®-nominated conductor Steven Fox with The Clarion Choir, and features GRAMMY® winner Sangeeta Kaur alongside me. At its core it’s a traditional Requiem Mass—a prayer for the departed—that also sits with the quiet questions grief can leave behind.
Unlike orchestral settings, this Requiem is entirely for voices, asking for clarity, control, and presence from each singer. Across movements from Dies Irae and Libera me to Introit and In Paradisum, Patti’s twelve-part and double-choir writing traces a clear arc from turbulence to stillness. I’m proud to help bring this new work to life with Clarion.
Silence That Says It All
There’s a moment I look for in performance that tells me I’ve done my job. It isn’t the applause—those come often enough. It’s the silence that falls right after a piece ends. When you can feel a hall holding its breath, when people are taking in what just happened, that’s when I know the music connected.
That’s the kind of season I’m stepping into: one built on connection, courage, and the chance to share stories across so many different stages. I hope you’ll join me along the way. And when a dad's love arrives later this season, I look forward to sharing a new chapter of my story with you.
View all of my upcoming engagements.